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¶ What are your favourite Venetian typefaces from the Quattrocento or inspired by the Quattrocento?

¶ Find a list as an example to guide you into the humanistic realm. But feel free to add yours.

❧ Jenson (Nicolas Jenson/Franko Luin/Robert Slimbach)

❧ Golden Type (William Morris/Joseph Phinney)

❧ Kennerley (Frederic Goudy)

❧ Hollandse Mediaeval (Sjoerd Hendrik De Roos)

❧ Cloister Old Style (Morris Fuller Benton)

❧ Eusebius (Robert Hunter/Jim Spiece)

❧ Verona (Robert Wiebking)

❧ Centaur (Bruce Rogers)

❧ Hadriano (Frederic Goudy)

❧ Schneidler (F. H. Ernst Schneidler)

❧ Aurelia (Hermann Zapf)

❧ Guardi (Reinhard Haus)

❧ ITC Legacy Serif (Ronald Arnholm)

❧ Apolline (Jean-François Porchez)

Centaur book-face revival: Mythology


(Following up from this thread in Design.)

Having read that it's a useful learning exercise for a starting designer to try digitizing a historical (metal) type, I decided to try this with Bruce Rogers's Centaur. I've never seen a digital version that looks remotely close to the beautiful text of books typeset in metal Centaur – they're all come out too fine and spindly, and look oddly sterile somehow. I'm clearly not the only one to think so.

A first serif font


Hi, new poster here (although I've lurked around the margins for a while)... If I may, I'd appreciate some opinions on a new serif typeface I'm designing.

This is my first attempt at a serif typeface, and my first serious attempt at a font fit for general consumption (my previous work has been for rather specialized uses).

De Humani Corporis Fabrica, 1543

These are images from Andrea Vesalius' De Humani Corporis Fabrica, printed in 1543 in the workshop of Johannes Oporini.

If anyone knows who cut the type and/or whether there's a good digital typeface based on it, that would be great! Otherwise, suggestions of the most similar typefaces you can think of are very welcome.



In reference to the publishing house operated by Aldus Manutius (Italian Manuzio) in Venice between 1494 and 1515. Also types used by Manuzio and in most instances cut by Francesco Griffo de Bologna.

Metal, digital and optical revivals resembling the types of Aldus and Griffo are sometimes known as Aldines.